Podcast: 3-D, Age of Filmmakers, New DVDs and Blu-rays and More

Welcome to the Tuesday edition of the RopeofSilicon podcast where this week we actually don't forget to cover the new DVDs and Blu-rays and, yet again, explore the current state of film, this time looking at the impact age has on filmmakers, discussing the want for quality when money is being spent making a movie and whether or not in-depth analysis of a film can actually hurt or help the appreciation of that film considering the bias of the person doing the analyzing.

On top of that we have more of your questions and voicemails, all our regular games and a Box-Office Challenge update with all the latest numbers for all twenty films, including the foreign totals Box-Office Mojo had not yet added into several of the films... the results may surprise you, or, at least Laremy.

I want to remind you that you can call in and leave us your comments, thoughts, questions, etc. directly on our Google Voice account, which you can call and leave a message for us at (925) 526-5763, which may be even easier to remember at (925) 5-BNL-POD. Just call, leave us a voice mail and we'll add those to the show and respond directly.

An alternative to that option is a new way of leaving us a voicemail directly from your computer. Just click here and no matter where you live in the world, all you need is a microphone and Internet connection and you can leave us a voicemail. Look forward to hearing from you!

As always, I have broken down this episode on a minute-by-minute basis if you would like to skip ahead and below I have featured the information on how to download the podcast, find us on iTunes or merely just listen in your browser.

00:00-1:54 - Introduction

1:55-7:31 - Show notes

7:32-22:19 - DVDs and Blu-rays

22:20-24:07 - The Great Gatsby opening Cannes Film Festival

24:08-28:39 - [Listener Question] Would you say that your point about directors losing their talent at a certain age extends to film critics as well? [AS] & I was re-listening to the segment on the podcast when you comment on the peak age for directors. What are your thoughts about the peak age for actors and actress? Aside from age are there any other noticeable signs of when actors have reached their peak and are now in decline? [Manu]

28:40-31:58 - [Listener Question] Say you get so fed up with film in 10 years you build a time machine to go back to the year 1982 and inspire the young Michael Bays and Bret Ratners to make better quality films. What modern (post 2000) films do you show them to inspire their ambitions? [Justin]

31:59-42:46 - What's wrong with a want for quality?

42:47-46:52 - Box-Office Challenge Update (chart below)

46:53-49:38 - [Listener Question] David Fincher says: "I don't know how much movies should entertain. To me, I'm always interested in movies that scar." To what degree do you agree with this opinion? [Manu]

49:39-57:40 - [Listener Question] This concerns a video Brad posted a few days ago analyzing PTA's camera work. When one is doing such an in-depth analysis, how much does it help if he/she is a fan of filmmakers work? Does it maybe detract, making one see things that aren't really there? Could or would you even go that deep if you didn't like the movie or, at the very least, found it to be intriguing, like Brad did with Prometheus? [the colleague]

57:41-1:03:28 - [Listener Voicemail] Elijah - 3D

1:03:29-1:05:34 - [Listener Voicemail] Kyle - Videogame Adaptations

1:05:35-1:13:53 - [Listener Voicemail] Mason - Villains

1:13:54-1:17:55 - Over / Under

B grade for Star Trek: Into Darkness [Xarnis]

7 years until Ridley Scott wins a Best Director Oscar [Xarnis]

8 years before David O. Russell takes home a Best Director Oscar [Fox]

C for The Incredible Burt Wonderstone [Alex Thomas]

$700 million for Ted 2, worldwide. [Mykael]

2 more sequels for Adam Sandler after Hotel Transylvania 2 [Ryguy815]

A Brad gives Evil Dead [Ryguy815]

1:17:56-1:22:00 - Buy or Sell

Jennifer Lawrence gets a second Oscar before turning 30 (she's 22 years old)

The Girl with the Dragon Tattoo sequel gets made

Another film gets made in the Twilight universe

The Heat does better than Identity Thief at the box office

Grown Ups 2 does so well at the box office Grown Ups 3 gets made

1:22:01-1:26:57 - Playing the Percentages

% chance Laremy will end up going to a screening of Evil Dead [Stephen]

% of films that Brad sees at Cannes that he likes [Xarnis]

% Fruitvale is nominated for Best Picture [Xarnis]

% on RT for The Incredible Burt Wonderstone [Xarnis]

% chance Interstellar will be partially shot in IMAX [the colleague]

% chance the people who made A Good Day to Die Hard are robots, but they don't realize it [the colleague]

You can listen below, on Stitcher, download the audio in .mp3, iTunes format by right-clicking here and saving it to your computer or subscribe to the podcast on iTunes. It's up to you.

NOTE:Apple's iTunes randomly checks for updated episodes, so sometimes the latest episode may not be immediately available in iTunes.

You can find Laremy's writing here on RopeofSilicon.com and also at Film.com and on Twitter at @Laremy.

Winter 2013 Movie Box-Office DraftBrad vs. Laremy

Laremy's Picks

Movie

Date

Budget

Box-Office

Current Total

Promised Land

Jan 4

$15m

$8.1m

-$29.3m

The Last Stand

Jan 18

$45m

$31.3m

-$81.1m

Movie 43

Jan 25

$6m

$23.1m

$8.1m

Hansel and Gretel: Witch Hunters

Jan 25

$50m

$196.9m

$71.9m

Stand Up Guys

Feb 1

$15m

$3.5m

-$33.9m

Side Effects

Feb 8

$30m

$31.2m

-$43.7m

Beautiful Creatures

Feb 13

$60m

$45.6m

-$104.3m

Escape from Planet Earth

Feb 14

$40m

$49.2m

-$50.7m

A Good Day To Die Hard

Feb 14

$92m

$240.3m

$10.3m

Dark Skies

Feb 22

$3.5m

$17m

$8.2m

$646.5m

-$244.6m

Brad's Picks

Movie

Date

Budget

Box-Office

Current Total

Texas Chainsaw 3D

Jan 4

$20m

$42.4m

-$7.5m

Gangster Squad

Jan 11

$60m

$99m

-$50.9m

Broken City

Jan 18

$35m

$26.8m

-$60.6m

Mama

Jan 18

$15m

$112.8m

$75.3m

Parker

Jan 25

$35m

$34.9m

-$52.5m

Warm Bodies

Feb 1

$35m

$90.8m

$3.3m

Bullet to the Head

Feb 1

$55m

$26.8m

-$110.6m

Identity Thief

Feb 8

$35m

$118.7m

$31.2m

Safe Haven

Feb 14

$28m

$71.6m

$1.6m

Snitch

Feb 22

$35m

$34.4m

-$53m

$658.7m

-$223.7m

The Winter 2013 Movie Box-Office Draft competition involved both Brad and Laremy "drafting" ten films each in hopes of scoring the largest net total by taking a film's worldwide gross subtracting two-and-a-half-times the reported budget. The film must be released in January and February of 2013. The draft took place on December 21, 2012 during the RopeofSilicon Podcast which you can listen to right here.

Listed above is all the most recent data as of this post. Budgetary information is not necessarily accurate and will most likely not be accurate until closer to or after each film's release.

Concerning the touchy subjects of human sociopathy, I think it's much more interesting to see why people or characters in films are the way they are. I don't want villains to be played out or single layered, especially when it comes to true historical events, so I think films like The White Ribbon by Michael Haneke is an interesting take on the generation of children that would eventually become Nazi Germany.

http://www.ropeofsilicon.com/profile/AS/ AS

Don't get why Laremy always harps on Michael Mann and Public Enemies. Personally, I loved it, but I understand that most were unimpressed. Still, I don't remember anyone calling it a bad film, so why is that the film that Laremy always cites when arguing that Mann is off his game? And if I remember correctly, Brad gave it a B+, so why all the hate?

Josh Z

AS I don't comment much but I agree. Mann is my favorite director since I was in my early teens but I always remain openmined to people giving their opinions on him. I personally really enjoyed Public Enemies as well and feel its the right type action movie that's not just explosions. Not as good as Heat or The Insider in the sense of characters but not far off either. I wouldn't change a thing about Mann I feel he does what he wants which is rare these days. I understand he's not for everyone but I'm curious about the dislike for the film as well.

http://www.ropeofsilicon.com/profile/AS/ AS

Yeah, and I think that referring to it as "an action film" kinda belittles it. Over the years, I've found that most people write off Mann as a "commercial studio director." Which begs the question: What is Christopher Nolan if not "a commercial studio director"? Personally, I think the characters and dialogue in Mann's films are much more layered, complex and interesting than Nolan's. But hey, that's just me. I feel that Mann is probably the most underrated filmmaker working in the industry today and is most overdue for an Oscar. I've said this before, but I think Mann is a director who will only be respected and appreciated after he dies.

Josh Z

AS,

I have a terrible feeling you will be right about that last part. I really hope thats not the case but if he can get his next project off the ground and its as good as we know he can be than maybe we will get one.

Interesting that you compare Mann to Nolan because I think its forgotten that Nolan has stated a few times that the whole beginning of The Dark Knight as well as other elements such as the use of BLUE and the interrogation scene are all inspired by "Heat". I feel Nolan was Inspired by Mann and they both studied at the same schools I believe. So I don't know about you but I sometimes see Mann in some of Nolan's work. I was one of VERY few that enjoyed Miami Vice when it first came out and I know it has some problems but what film doesnt. I think it was kind of ballsy what Mann did by throwing out the '80s feel and gave it his own dark feel going back from when he was a writer for the show. I clearly agree that he's underrated and I wish he gets more love. I see your point about using the term action movie might belittle it but I guess I need to find another term because when I use the term "Action movie" I think of his movies as men of action (like Drive for example that's not a Mann film) where it shows depth and layers (like you pointed out) and has real emotion to it. The action with violence as well as relationships are treated the same in how its written and shot so I feel that's action to me and Transformers and Avengers is popcorn action. I'm glad to see another Mann fan on here. I know Brad is a fan of him and like Brad I am a big fan of Collateral so I am always happy to hear other peoples opinions on him.

Buy or Sells: The Lone Ranger does not lose money Ron Howard will ever be consistent again Wally Pfister returns to cinematography

Playing the Percentages: % on rotten tomatoes for G.I. Joe: Retaliation % chance that The Host becomes a Twilight- level phenomenon % chance that Brad or Laremy sees The Big Wedding in hopes that the 'promise' that the R rating means that it'll be good that everybody seems to have around the internet.

http://www.everyeliakazanmovie.blogspot.ca/ IngmarTheBergman

Perhaps it's a bad idea to confess to this... but I could sort of sympathize with Hitler in Downfall. It takes a great film to make you do that.

http://www.ropeofsilicon.com/profile/AS/ AS

Per the Hitler conversation:

I don't know if "sympathizing" would be the right word, but I don't think there's anything wrong with trying to understand a person. I wouldn't have a problem with any film that tried to do that. I think the problem is that Hitler has become the personification of evil and this has essentially prevented anyone from exploring his childhood to gain an understanding of who he was and what informed his worldview. Fear is a powerful thing, and I think it prevents people from wanting to understand someone or something.

This kinda gets into the whole nature vs. nurture conversation. It's a question of whether or not you think a person can be born evil... or if there's even such a thing as "evil." I personally believe that it's a persons childhood, environment and life experiences that inform what kind of individual they become. Most people just choose to write off Hitler as wholly evil so that they aren't forced to reconcile the fact that he was just a human being, like anyone else. I think Laremy touched on this in their conversation, but anyone could become a Hitler; in fact, there are numerous other "Hitler's" currently operating all over the world as we speak (just perhaps less successful). If Hitler had been born in another environment to different parents, he could've become Gandhi.

So I think it's potentially irresponsible to shy away from attempting to understand (not sympathize) an evil individual. That's actually one of the things I liked about Inglourious Basterds; QT wasn't afraid to create a likable, charming and charismatic Nazi. Nazis were people too, ya know. They committed horrific atrocities, but that doesn't mean they weren't human.

http://www.everyeliakazanmovie.blogspot.ca/ IngmarTheBergman

Those are some great insights, and I would have to agree. Why do all bio-pics have to be on great people like Lincoln, Ghandi, and all those other people. Downfall was a great film, and it showed that Hitler had indeed, as you said, committed great atrocities, but it didn't mean he was not human.

http://www.everyeliakazanmovie.blogspot.ca/ IngmarTheBergman

Over/Under: 15 more years of Criterion. (Ingmar)

Playing the percents: Nymphomaniac ends up at Cannes. (Ingmar)

http://www.ropeofsilicon.com/profile/paul.thind/ Paul Thind

Buy or Sell: M. Night's name being avoided to promote After Earth is a smart move for Columbia.

Percentages: Monster's University beats Toy Story 3 to become Pixar's highest grossing film.

Jesse3232

Question: I just read your article about your top 40 Best Picture contenders which I think is great but do you see any love for Side Effects? Currently it stands as the sole good movie this year (and I personally love it) but I'm confused as to why nobody is giving it Oscar love! Do you think Mara may have a shot at the very least?

http://www.ropeofsilicon.com/profile/DiscoPaco/ Disco Paco

Buy/Sell:

Laremy is a misogynist. (So attractive women like Charlize Theron and Mary Elizabeth Winstead are here only to be eye candy for Lare? They can't reach out and get artistic, maybe get ugly for a soul-satisfying role?) #TongueFirmlyinCheek [Disco Paco]

http://www.ropeofsilicon.com/profile/DiscoPaco/ Disco Paco

Would you rather:

Would you rather beat a horse to death with a crow bar or shoot a pregnant woman in the head from point blank range while she's begging for her life?

http://www.ropeofsilicon.com/profile/HarryFuertes/ Harry Fuertes

That's a loaded question.

http://www.ropeofsilicon.com/profile/Xarnis/ Xarnis

Buy or Sell: There is a secret cult that worships Brad and his "god-like powers" [Xarnis] David Fincher wins a Best Director Oscar [Xarnis]

Listener Question: Why do you think video game adaptations are never successful as films? [Xarnis]

http://www.ropeofsilicon.com/profile/Xarnis/ Xarnis

And I woul like to say that said "spammer" was my younger brother. We share a laptop and He LOVES messing with my stuff and spamming different things. He finds it funny for some reason.

Playing the Percentages % David the commenter makes a return [Xarnis]

Over/Under 2 films released in 2012 that receive a Criterion release. [Xarnis]

http://www.ropeofsilicon.com/profile/Xarnis/ Xarnis

This is rather long, so bear with me.

Regarding Laremy's comment on actors not having to be as creative as directors and screenwriters: I am an actor. I have acted in numerous plays, and being an actor requires an immense amount of creativity. The writing gives you things to say, but the actor has to come up with the physicalities and characteristics of the character they are portraying. For every character I have portrayed, I have gone and created entire back stories and reasons for who they are as a person; these are things that the screenplay or script only occasionally hints at.

Most directors and screenwriters seem to borrow from other influential people within the industry. I think actors do this as well, but to a lesser extent. It's easier to borrow writing techniques than acting techniques for writing techniques are, in their simplest form, an arrangement of words on paper, whereas acting techniques are mindsets and less tangible. So I think that Actors have to take greater creative leaps than directors/screenwriters (in most cases).

So, I would just like to hear your response to this, I guess. And do you think borrowing from previous influential filmmakers is causing a decline in the quality of cinema?

Stephen

Buy or Sell:

After Earth will be M. Night Shayamalan's first certified fresh Rotten Tomatoes score since 2002's Signs.

http://timeforafilm.com Alex Thomas

Buy or Sell: Oblivion is the best Sci-Fi film of the year [Alex Thomas]

Over/Under: B+ for Oblivion

Playing the Percentages: % on RT for Oblivion

Can you guys tell I'm excited for Oblivion? Haha.

http://www.ropeofsilicon.com/profile/navaneethks/ navaneethks

Listener Question

How to enjoy older movies (pre-1970)? As we are used to certain standard in movies these days, seems like things that made the wow factor in old movies is not a wow factor anymore. I recently watched my first Alfred Hitchcock movie, Psycho. While I did like the movie and enjoyed it, it didn't have that wow factor to me that everyone made it out to be. So how can you enjoy old movies for what it is? (And if you don't mind quickly listing your favorite five Hitchcock movie that would be great) [Nav]

Sorry it's long!

http://letterboxd.com/ragingtaxidrver/ RagingTaxiDriver

Listener Question: With Oz's release which led to my thinking of the 1939 version that scored a nom for Best Color Cinematography. That category soon faded off, and now we only have one category for cinematography. Do you think with the on-going debate on film vs. digital, the Academy should create a Best Film Cinematography and Best Digital Cinematography (this could also include animated films)? [RagingTaxiDriver]

Aidan

Buy or Sell: Oz The Great And Powerful crosses 1 billion worldwide. Over/Under: B grade by Brad for Man Of Steel.

http://www.ropeofsilicon.com/profile/Aleonardis/ Aleonardis

As I'm listening to the podcast, I had to comment real quick. Pertaining to the Fincher quote, he's more against the idea of being entertained by a movie. I think he feels that a movie that just entertains, is a one trick pony. It does that in the moment. A movie that scars is something that is embedded on you no matter what. It doesn't have to be dour. Miyazaki movies scar me but they're not particular dour or hard hitting. Dazed and Confused or even Zoolander have scarred me. Anyway...Back to the listening.

http://www.ropeofsilicon.com/profile/Quickslay/ Quickslay

As Brad would like to play a story in a video game, I would highly recommend to try out the fantastic "Heavy Rain" which should suit your preferences perfectly. It is one of the most unique playing experiences one can have today...it is not based on skills although there are some Quicktime-Events which require fast reactions, it is more based on decisions, which have a lasting effect on the outcome of your story.

Correction - Django Unchained is scheduled to open in China on April 11 not April 12. Sorry. Thank you.

http://hypethemovies.wordpress.com Jordan B.

This is a longer one, Brad, so please bear with me as I think it might make for an interesting discussion.

LISTENER COMMENT/QUESTION:

It seems like we come to the conversation of the Dragon Tattoo sequel(s) every month or so, essentially boiling down to, "I'm not sure it will get made, but I really want it to -- if Fincher directs."

As much as I love Dragon Tattoo and as badly as I want to see the sequels receive their cinematic justice -- the Swedish adaptations of Fire and Hornet's Nest are quite terrible -- I find myself agreeing that I really only want to see them get made if Fincher is involved. But as much as I want Fincher to direct, it feels less and less likely as the days go by.

This got me thinking: could a "House of Cards"-esque situation -- a series that felt very consistent, for the most part -- work for these films? Where Fincher produces and another director, someone with similar sensibilities and as strong a creative engine, takes over in order to progress Lisbeth's story on screen? And if so, who could step in? [Jordan B.]

http://www.ropeofsilicon.com/profile/AS/ AS

I actually liked Fire more than the other two. I think the narrative for the second one is the most interesting of the 3 (and I think Fincher agrees with me on that point).

http://hypethemovies.wordpress.com Jordan B.

From a narrative perspective, the second story is probably the strongest, but I do actually like all 3 stories very much, though Dragon Tattoo does take a while to get going. I am very drawn to procedurals and courtroom dramas, so I found the third (Hornet's Nest) to be far stronger than most tend to give it credit for as well.

However, I don't think the Swedish adaptations of Fire or Hornet's Nest were all that good -- even Oplev's Dragon Tattoo was just an above-average thriller in my opinion -- mostly in that they are not very well made and they just don't have a high-stakes/thriller air to them that the series is meant to convey or incorporate.

Fincher got the English-language project on the right track, and I would hate for such talent and promise to be wasted.

http://www.ropeofsilicon.com/profile/Quickslay/ Quickslay

I think they should leave it at that with the adaption of Dragon Tattoo. I read all three books and although i enjoyed them the stories borderline on the ridiculous. I just kept on reading because I found Lisbeth so compelling and I would like to find out where her story will go.

Otherwise I would have put down the book because the conspiracies were too over the top that I sometimes had to laugh at it. It was just too much. But I agree that it was a fun read.

So both versions of Dragon Tattoo are gritty thrillers in their own respect and they are very good at that. But the further adaptions were just not good because as I said the source material wasn't that good anymore. So I think it would be best for Fincher to move to something else because I fear that Fire or Hornet's Nest would rather be more like 8mm than Dragon Tattoo...

I personally was very confused by the cinematography win as the film did seem so digitised and the line between cinematography and digital production design/visual effects was so blurred. Can you revere a film's cinematography if so much is shot on a green screen?

http://www.twitter.com/marlonwallace marlonwallace

Question(s):

--In regards to what Laremy said here and on the Slashfilmcast about crowd-funding, I wanted to know what you guys think about Richard Lawson's criticism of the 'Veronica Mars' Kickstarter campaign, which he wrote about for the Atlantic Wire?

--Based on your response to Justin's question about young Michael Bay and young Brett Ratner, do you think with any filmmaker or any artist, be he Pablo Picasso or Leonardi Di Vinci, is it really a good idea to tell an artist what he should or should not do, or how his art should or should not be?

--Speaking of Michael Bay, how is it that someone like Michael Bay can be so successful and at the same time someone like Christopher Nolan can also be so successful? How is that the market can reward both? Isn't that proof that the market can't be trusted because it rewards both the good and bad?

http://www.ropeofsilicon.com/profile/the%20colleague/ the colleague

How come when somebody says "asshole" on television, they bleep out the "hole" part? -It's the hole that gets you into trouble. -Tell me about it.

Don't let the Brad go down on me...

Some T-shirt material right there; although I think you'd be hard pressed to find someone who'd actually wear it.

Question: If you were to watch movies from a franchise that were filmed out of sequence (i.e. Star Wars) with someone that is about to see them for the very first time, how would you go about it: as they were shot or in a chronological order? [the colleague]

Would You Rather: - watch a movie you hadn't seen before, but have heard is highly polarizing, so there's a big chance you'd end up feeling disappointed or watch a movie you also hadn't seen before, but it looked to be more in your wheelhouse [the colleague]

Watch This or Watch That (Movies with Misleading Titles): - They Shoot Horses, Don't They? or Wag the Dog - Naked Lunch or Brazil - Layer Cake or xXx - One Flew Over the Cuckoo's Nest or To Kill a Mockingbird

Thomas_lockhart

Question: I liked Dark Knight Rises, but have found that i like the parodies even more than the movie. One in particular that is extra amazing is called "Batman can't stop thinking about sex". I was wondering what are some of your favorite parodies? Whether a movie, from TV, or from the internet.

Have the face of Ryan Reynolds and the body of Paul Giamatti, or the face of Paul Giamatti and the body of Ryan Reynolds?

http://www.ropeofsilicon.com/profile/JonSullivan/ Jon Sullivan

Regarding video game adaptations, I think your best chance at a good film is the planned 'Mass Effect' film. It's an excellent sci-fi trilogy that provides a rich set of source material to pull from, and a good screenwriter could create a very good script. The game's developer, BioWare, also has a strong reputation for releasing fully-formed, high-quality content.